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Spring 2020 Magazine

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Spring 2020 Magazine SPRING 2020 INSIDE TEN YEARS OF COLLECTING • MARK DION • NEW CURATOR OF PHOTOGRAPHY & NEW MEDIA “This brightly colored, monumental piece has something to say—and not just because it’s a play on words. One thing we hope it conveys to students and visitors n is a good-natured ‘Come in! You a m r e k c a are welcome here.’ ” D an Sus Susan Dackerman John & Jill Freidenrich Director of the Cantor Arts Center Yo, Cantor! The museum’s newest large-scale sculpture, in Japanese. “The fact that this particular work Deborah Kass’s OY/YO, speaks in multicultural resonates so beautifully in so many languages to tongues: Oy, as in “oy vey,” is a Yiddish term so many communities is why I wanted to make it of fatigue, resignation, or woe. Yo is a greeting monumental,” artist Kass told the New York Times. associated with American teenagers; it also means “I” in Spanish and is used for emphasis Learn more at museum.stanford.edu/oyyo CONTENTS SPRING 2020 QUICK TOUR 4 News, Acquisitions & Museum Highlights FACULTY PERSPECTIVE 6 Sara Houghteling on Literature and Art CURATORIAL PERSPECTIVE 7 Crossing the Caspian with Alexandria Brown-Hejazi FEATURE 8 Paper Chase: Ten Years of Collecting 3 THINGS TO KNOW 13 About Artist and Alumnus Richard Diebenkorn EXHIBITION GRAPHIC 14 A Cabinet of Cantor Curiosities: PAGE 8 Paper Chase: the Cantor’s major spring exhibition Mark Dion Transforms Two Galleries includes prints from Pakistani-born artist Ambreen Butt, whose work contemplates issues of power and autonomy in the lives of young women. AT THE ANDERSON 16 Up Close with Left of Center Student Curators GALLERY TALK 17 Aleesa Alexander Explores Marks and Materials CLOSING HOUR PAGE 14 Now on view: Mark Dion’s reinstallation of the Five Questions with New Curator Stanford Family Collections comprises more than 700 objects 18 Maggie Dethloff DIRECTOR’S ADVISORY BOARD MEMBERSHIP S E N IO R This publication is produced twice Sue Diekman Michael W. Wilsey EXECUTIVE LEADERSHIP annually for members of the Cantor Arts Chair Debi Wisch COUNCIL Susan Dackerman Center and includes highlights from the Akiko Yamazaki Debbie Shepherd John and Jill Freidenrich neighboring Anderson Collection at Sara Abbasi Stanford University. All rights reserved. C. Diane Christensen Jerry Yang Chair Director Doris F. Fisher Ex Officio Sara Abbasi James Gaddy COVER AND PAGE 2 Deborah Kass (U.S.A., Andrea Hennessy Jon Denney Kathy Adams Deputy Director and b. 1952), OY/YO, 2019. Aluminum, polymer, Pamela Hornik Nikki Andrews Harry J. Elam Jr. Chief of Staff and clear coat, 96 x 1941⁄2 x 52 in. Gift of Debi Elizabeth Swindells Hulsey Melissa Fetter Sarah Blaustein Beth Giudicessi and Steven Wisch and the Rehmus Family, 2019.53. George H. Hume Roberta Katz Martha Chamberlain Director of Marketing Installation view at the Cantor. Cover photograph by Liong Seen Kwee Jason Linetzky Loren Gordon and Communications Johnna Arnold Daryl Lillie Amy Kacher Alex Nemerov Peter Tokofsky EDITOR Heidi Sigua Campbell, Deedee McMurtry Debbie Shepherd Shana Middler Director of Academic Cantor Arts Center, Stanford J. Sanford Miller Marc Tessier-Lavigne Nicole Rubin Barbara Oshman and Public Programs Ex Officio Frederick P. Rehmus Barbara Bogomilsky Marilynn Thoma SPRING 2020 | CANTOR ARTS CENTER 3 News, Acquisitions & Museum Highlights QUICK TOUR QUICK Gifts of Art “By donating two of the most sought-after In celebration of the museum’s New York School paintings in private hands to fifth anniversary and in advance of her October Stanford, Moo Anderson continues to exemplify 2019 death, Mary Margaret “Moo” Anderson her strong conviction that art is to be shared donated Jackson Pollock’s Totem Lesson 1 (1944) and to be lived.” and Willem de Kooning’s Gansevoort Street Stanford University President Marc Tessier-Lavigne (c. 1949) to the Anderson Collection at Stanford. The works are now on view. A San Franciscan Comes Home The work of Chinese American painter Martin Wong blends social realism, visionary styles, and cross-cultural themes. His 1992 work Untitled (Dragon with Moonrise Two Children), depicting The 2019 gala marked the first the Chinatown district in time the signature event benefited both the San Francisco, a city he Cantor and the Anderson Collection, and considered to be home, Martin Wong (U.S.A., 1946–1999), celebrated honorees—artist Jordan Casteel and was acquired by the Untitled (Dragon with Two supporters Roberta and Steven Denning. It also Children), 1992. Acrylic on canvas. Cantor as a gift from Gift of The Estate of Martin Wong, 2019.202 featured a new after-party, changed its name the artist’s estate. It will to Museums by Moonlight, and raised more be on view in June. than $1 million in support for the museums’ free exhibitions and programming. 4 MUSEUM.STANFORD.EDU Ian Cheng (U.S.A., b. 1984), Emissary Sunsets the Self (installation view), 2017. Live simulation and story. William Alden Campbell and Martha Campbell Art Acquisition Fund, 2019.200 New Media Shortly after joining the Cantor and the development of consciousness through video team in late September 2019, Maggie Dethloff (see game technology produces an artwork that speaks page 18) helped the museum acquire one of its first very clearly to how digital technology, artificial works of new media. “Ian Cheng’s live simulation intelligence, and new media artwork should not be artwork Emissary Sunsets the Self, the third in the seen as separate from—and are, in fact, crucial to— artist’s Emissaries trilogy, is a foundational acquisi- contemporary scientific and humanistic inquiries tion toward the Cantor’s goal of building a dynamic into the nature of human life.” collection of new media art,” Dethloff explained. “In this ‘video game that plays itself,’ [the character] 20 Years of Rodin at MotherAI, in the form of an oceanic substance that the Cantor To mark the 20th governs the ‘Atoll environment’ of the simulation, anniversary of the reopening of the sends a puddle of itself to ‘drone,’ or inhabit, a local university’s encyclopedic museum, plant mutation and experience incarnated life. This its namesake Iris B. Cantor cut the emissary develops independent consciousness in ribbon on the Cantor Commons, order to survive the animosity of the Atoll’s inhabi- a new public space adjacent to the tants. Cheng’s expression of theories of evolution Rodin Sculpture Garden. Q&A “What’s your favorite work on display at the museums?” Untitled (c. 1954) Hoarding My Frog Food (1982) Cause & Effect (2007) by Ruth Asawa by David Gilhooly by Do Ho Suh Dylan Sherman, ’20 Savannah Mohacsi, ’20 Ashley Song, ’20 Art & Art History and Dance Human Biology and Art Practice Economics and Earth Systems “I love this work because it can be stud- “Hoarding My Frog Food is my favorite “Do Ho Suh’s work is so eye-catching, ied through many historical references, piece to tour because its absurdity defies and the three pieces that the Cantor has from modern dance to basket-weaving what you would expect to see in an art been fortunate enough to show tell such techniques, but it still holds a singular, museum; however, the quirky ceramic a beautiful story. Whenever I tour the magical presence in the gallery today.” frogs reveal so much more about societal objects, people are blown away by how themes, and are used as satirical tools for he represents the interconnectedness of Learn more about Asawa’s work on Gilhooly to reflect on the conditions of community, generations, and society page 17. human nature.” through his installations.” Ruth Asawa (U.S.A., 1926–2013), Untitled, David Gilhooly (U.S.A., 1943–2013), Do Ho Suh (South Korea, b. 1962), Details of c. 1954. © Estate of Ruth Asawa. Private collection Hoarding My Frog Food, 1982. Gift of Harry W. and Mary Margaret Cause & Effect, 2007, and Screen, 2005. Anderson, and Mary Patricia Anderson Pence © Do Ho Suh. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. Installation view at the Cantor Arts Center. Photograph by Johnna Arnold SPRING 2020 | CANTOR ARTS CENTER 5 “Photo-texts”: Literature Meets Art at the Museum g Students of Fiction Experience Wright Morris’s Work On lin te gh Sara Hou and Off the Page JUDITH GORDON Last October, lecturer Sara Houghteling accompanied her six How did the visit expand your students’ FACULTY PERSPECTIVE FACULTY students to meet with Maggie Dethloff—then the Capital Group perspectives? Foundation curatorial fellow for photography, now the Cantor’s You could perceive where his hand was in his assistant curator of photography and new media—and explore the artistic process. For class, we read his early novel Cantor’s trove of original images by Wright Morris. Houghteling’s The Home Place, from 1948. Because the Cantor has Photography in Fiction course (English 182E) looks at fiction writers many of [the book’s] original images, we could scru- like Morris who transcend the boundary between the written word and other art forms. An American novelist, short-story writer, tinize them closely. For example, in Drawer with essayist, and photographer, Morris pioneered “photo-texts,” books Silverware, one student noticed that in Morris’s in which he paired his photographs with his own writing. original at the Cantor, the date on the newspaper lining the drawer is visible. In the version Morris What was it like to view these images outside selects for his novel, he crops off the date. What? the classroom? Why? We talked about how this adds to a sense of When you enter the Cantor, especially a study room timelessness or announces the concept of a single like the Wilsey, the rest of the world falls away. You time stamp as simplistic or mundane.
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